Glam-metal staged a comeback of sort in Florida with Marilyn Manson, the product of Brian Warner's deranged mind. Propelled by the brutal sounds of keyboardist Madonna Wayne-Gacy and guitarist Daisy Berkowitz, Warner's theatrical exhibition of degenerate, depraved animal instinct wed Alice Cooper's scum-rock and Nine Inch Nails' industrial-hardcore on Portrait Of An American Family (1994). By borrowing the energy of speed-metal, Antichrist Superstar (1996) sold the gimmick to the masses.
If English is your first language and you could translate the Italian text, please contact me.
Scroll down for recent reviews in english.

The regression to 1970s' glam is complete with
Mechanical Animals (Nothing, 1998), that surrenders to the
worst nightmares of David Bowie's Ziggy Stardust, emphasizing the
apocalyptic (Last Day On Earth, Come White) over the
decadent. The Dope Show resurrects Gary Glitter's ghost.
I Don't Like The Drugs winks at the Spiritualized.
A few fast-paced numbers
(Posthuman, I Want To Disappear, New Model No 15,
the latter a variant of My Sharona)
rock hard, but mostly Marilyn Manson has become yet another aging
maudit poet
(Speed Of Pain).

Surprisingly, at least one star is not sinking in his own fame and money:
Marilyn Manson. Holy Wood (Nothing, 2000) ranks as his most beastly
album.
His inspiration is wearing thin, as proven by the fact that the glam-boogie
of
Disposable Teens sounds like The Beautiful People and the melodic
power ballad Lamb Of God sounds like Speed Of Pain, but the overall vision
is still disquieting and powerful.
God Eat God is a lame overture, but The Love Song roars and
shakes like his classics, and The Fight Song and
The Death Song
are two of his most
incendiary hard-rock numbers.
The mildly anthemic President Dead
sustain the mood for a while, but Marilyn Manson commits
the worst possible crime for a rock album: monotony. After a few more songs,
it begins to sound like he is repeating the same riff and the same vocal
progression over and over again.
After creating a myth of perversion,
Manson chronicles the lost soul dissolving in a burning hell and the lasting,
terrifying echoes of its agony.
As an antichrist, he has few rivals.
As a musician, he can still rock.
He may not be alive, but he is still kicking.

Manson completely drops the Antichrist persona on The Golden Age of Grotesque (Interscope, 2003), a collection of high-school jokes that bestow on him the title of "Alice Cooper for the year 2000 generation".
This Is The New Shit, mOBSCENE and the anthemic Use Your Fist and Not Your Mouth are easy to remember and to laugh at. The monster has become a clown, but at least he's a funny one.
It is also one of his least musical albums, but that is precisely the point.

Having collapsed to the bottom, Brian Warner virtually abandoned his decadent
damned persona (despite preserving the childish moniker) and revealed a more
intimate side (as intimate as he could get). Instead of continuing to pour
self-parody on his fans, Marilyn Manson seriously tried to communicate in the
songs of Eat Me Drink Me (2007), such as
Heart Shaped Glasses. The fact that the album shunned the old bombast
and grand guignol and favored simpler, leaner arrangements helped.
Instead of sounding like Alice Cooper in
physical hell, Warner began to sound like
Neil Young in a psychological hell.

The High End Of Low (Interscope, 2009) and
Born Villain (2012)
evoked the vision of a
melancholy clown forced to repeat his routine in order to pay the bills.